The Five Obstructions

[Rimwalker]

Hello,

I just recently saw movie called The Five Obstructions by Danish filmmakers Lars Von Trier and Jørgen Leth. Without going into digression, the basic idea behind the film was for Leth to remake an old classic of his, The Perfect Human, five times with different obstructions in each, therefore creating the same work with different variations to highlight the overall meaning in the original. There was one part where, in order to punish Leth for making a film that didn't follow the guidelines, Von Trier decided that he would force the next one to be entirely open-ended, giving no obstructions except that it must be good. Surprisingly, Leth replied to this despondently, demanding for a different obstruction. This obstruction was hell for him because he preferred some direction before action.

This got me thinking. When you are working on a film, do you prefer no direction whatsoever or a guiding hand in some shape or form? For example, do you come up with a certain story in your head, then work out the details along the way, or do you come up with a broad, ambiguous theme, then craft an allegory to illustrate it? Maybe you do it in a different way, but--you see what I mean?

How do you work best?

 

[amtriska]

I actually just watched that film myself -- amazing.

I find that I like to know what I'm doing (i.e. the basic sequence of events and some key scenes) but I don't like rigidity. Sometimes the actors come up with cool stuff on their own and it's nice when we can fit these scenes and dialogue in. But if I don't have at least a few restrictions, I get flustered -- I need a bit of structure and a schedule, even if it's just in my head.

What I really took away from the film was that restrictions (real or artificial) make you more creative. Just look at Kevin Smith's Clerks. He was pretty much broke and was filming at the convenience store in which he worked during the day. Because he could only film after the store closed, he had to close the shutters so it wouldn't look weird that it was night. So he had to make up lines in the script about how the shutters were stuck. The opening sequence shows the protagonist, Dante, putting up a sign that says "I assure you, we're open." I actually thought it was a great character moment. The phrase I assure you wouldn't have come from anyone else. Obstructions were the life of that film.

 

[M1chae1]

I think you definitely need structure--however, it's good to keep it organic in the beginning naturally, but as you revise the script, you should settle on ideas and try and keep to them.

As far as actors coming up with cool stuff on their own...I think that's a slippery slope. It's one thing to trust your actors, and allow them to develop the character (you've already written) on their own...and it's OK to ask for input...but it's a dangerous road to wander down when you let your actors run without a leash. Trust me...actors want restrictions and guidelines. Many actors will look like a deer in headlights if you don't give them enough to work from.

I'm also not at all a fan of the new fandango idea of improvisational movies...they are messy, and the editing is way too jerky. Sure, there is a feel of organic naturalism coming from the actors mouths...but unless your playing with veterans...it's going to be messy.

I may have veered a little there...sorry all.